In Fiona Davis’s The Masterpiece, the process of rectifying the historical erasure of women’s contributions is an active, often confrontational, process of reclamation. This struggle unfolds on both a public scale, with Virginia Clay’s quest to restore Clara Darden’s artistic legacy, and on a personal one, as Virginia herself rebuilds an identity independent of her former husband. The novel argues that patriarchal systems have historically obscured or misattributed women’s achievements, and that uncovering the truth requires a relentless fight against the official, male-dominated narratives that have become accepted as fact. Apart from finding lost evidence, this process also involves challenging the institutions that perpetuate the erasure.

The novel examines a 1920s art world where the patriarchal hierarchy of patrons and other artists systematically devalue female genius. The protagonist, Clara Darden, a talented illustrator, is constantly undermined in favor of her male colleagues. The school director, Mr. Lorette, dismisses her as “shrewish” and “unyielding” (195), while celebrating the similarly difficult but male teacher Levon Zakarian as “brilliant” (194). At the annual faculty exhibition, Clara’s illustrations are relegated to a back office, effectively erasing her from a crucial career opportunity. This prejudice is not limited to men in power;